John Webster had one amazing skill. He could craft lines that glow in the memory like radioactive gems. ‘A politician is the devil’s quilted anvil; he fashions all sins on him, and the blows are never heard.’ Eliot loved him. Pinter used to stroll around the parks of Hackney shouting his soundbites into the sky. But Webster never discovered how to put his highly wrought lines into the mouths of likable or captivating characters.
The Duchess of Malfi is a Jacobean slasher-play, a straight-to-video Tarantino blood-fest, full of cloaked assassins and scheming dukes. We’re in an Italian court where a beautiful noblewoman, played by Eve Best, has fixed her eye on a handsome young bumpkin. As soon as she arrives on stage, all merry smiles and lustful vitality, it’s clear she has the life expectancy of a choc-ice in the Sahara. Having married her nice-but-dim boyfriend she’s marked for death by her paranoid brothers.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in